I read in the chronicle of Florence that the "bad boys" of the garden of the trials and tribulations are to hit back: a hedgehog tortured, kicked and then exploded in mid-August and one evening a new hunt for the hedgehog, which, fortunately, this Once you have saved. The Councillor for Social
Saccardi was then ordered more checks, but the bands are hit and come back here today that the Foundation Caponnetto Salvatore Calleri, who first reported the misdeeds, is proposing to fence off and close the garden at night.
So probably save the rich zone and the sleep of the residents ... but the heads of the "bad guys" who saves them? And who prejudice to the further misdeeds that these heads will implement ... even more criminal with advancing age. What kind of adults we expect? We will have to fence off all of our living spaces and close them at night?
I have another question, but the parents of these kids where they are? They are all orphans or someone must answer for these criminals-in-growth? They are all guys who are self-educate or is there some adult responsibility?
can do it our law enforcement to identify, by name, surname and address, these designers of Celtic crosses and animal abusers? Becomes available the names we could intervene and "help out" families, by acting with social (and perhaps also with the cultural!).
Perhaps this is what an assessor should take on the social, rather than the cancellation of the fence. I mean these kids drop them to rebuild or is there a little hope of salvation, both for us and for them?
The artist will attend the exhibition Vectores Invertidos international artists in Buenos Aires organized by the art gallery The Guanacazul http://www.laguanacazul.com/ April 15 to May 9
inauguration Thursday 15 April Defense 19:30 677 San Telmo Buenos Aires artisti:
Hadrien Bernard France
Netherlands Bernard Coops
Lisa Franz germany / china
Italy Mirco Marcacci
Georgia Levan Mindiashvili
Italy Giorgia Moretti
Mowszovicz Fabian uruguay
Teresa Poester brasil
October 11, 2009 An article on Giorgia Moretti will be published in the bimonthly magazine of furniture La Maison December / January http:// lamaison.agenziaten.com /
August 2, 2009
Giorgia Moretti attend the event Private Flat to be held in Florence during 2, 3, 4 October at several apartments in the city (Via del Castellaccio 3, the one that exposes the artist) Friday, October 2 from 16:00 to 21:00, Saturday 3 and Sunday 4 from 10.00 to 19 . 00 http://privateflat.it/
July 27, 2009
From July 25 to August 28 Staff Giorgia Moretti to ' Absinthe literary café (Via Bilancioni 14, Rimini) is open from Thursday to Saturday from 3.00am 19.oo Curator - Alessandro Giovanardi
July 25, 2009 Giorgia Moretti attend the event The day art August 2 at the center Kas8 Young (via Ravenna 75) in Bellaria Igea Marina . The event will take place in a single day from 17:00 and there will be many artists and musicians
April 21, 2009
The artist will participate in the collective Current Trends at:
STUDIO ART Q - CURRENT TRENDS Group Exhibition May 2 to 16 via Dante 10/12 Pontedera, Pisa Editors: Massimo and Daniela Quadrelli
January 20, 2009
The artist created an image of HOMO the devastating role of male Neanderthal today Giorgio Giannini
The sacred arts There are bodies that ancient numinous - as human or animal - not to distance themselves from common experience to have, beyond the apparent similarities, there is nothing comparable to the physical structures of life known to us or investigated scientifically. To support the figure does not include bones or muscles, tendons or nerves can not see, let alone just to show the skin firm, with air sweetness, the hidden spiritual forces. And so the faces and profiles Egyptians, Hindu gods and goddesses, the Buddhas, Greek and Indo-Tibetan and Chinese, the Christian Byzantine and Romanesque, have a mild and radiant physicality, quietly and without agitation, in which only the Spirit soul meat, and the claims. Giorgia Moretti seems to bring the energy flow of ancestral power of painting and sculpture in what these rituals, in large part, deny visually: the skeleton, the plots lymphatic, nerve pathways and mechanical properties. The painter is confronted, therefore, an object that inspires and restless contemporary art, namely the X-ray, not, however, using it directly and even obsession with copying of documents, but evoking the surface transparent and revealing, revisited with imaginative games and disturbing comparisons . There, where the plate is able to offer only diagnostic properties to interpret signs, Moretti shows pictorially the synthetic sense of life and movement, the flow peaceful or militant forces in peace or in contention almost as a reminder that art is in its ability to realize a comprehensive survey poetic radiograph the only possible reality, all living in his uniform, in his implicit harmonic drama. The specific point of view is, finally, the deep-sea fish biology, falling in love for the shapes of fish and shellfish neon night ocean of perennials, superimposed over human transparencies and merged with the organic man. It is the reference to a set depth as possible and dial-up, a figure known of common knowledge that time is precious because esa r traced back to ancient perception mystery.
The disquieting transparence
The ancient holy arts show us godlike bodies which take distance from common experience not to possess anything comparable to physical structures of the known and scientifically explored life.No bones or muscles sustain the figure, we perceive no nerves neither tendons, we only see compact skin gently disclosing the hidden spiritual forces. Thus, Egyptian profiles, Hindu goddesses and gods, Tibetan and Chinese Buddhas, Byzantine and Romanic Christs possess a light and glowing corporeal quality where only the Spirit makes the bodies seem alive. Giorgia Moretti wants to bring the energetic flux of ancient ritual painting and sculpture powers into what they visually deny: bony frameworks, lymphatic plots, nervous and mechanic systems. Therefore the paintress tries to face and challenge the contemporary arts through a disquieting dimension: the radiography, not copying it with obsession but evoking its transparent surface. There, where a radiography helps the doctors to interpret motionless signs, Giorgia Moretti picturesquely brings back the synthetical sense of life and motion remembering us all that Art, with its inquiring ability, can take the only possible radiography of the reality in its harmonious and implicit dramaticity. Another visual referent mark is, at last, the ichthyc biology of the abysses, the love for phosphorescent shapes of molluscs and fishes of the never-ending ocean nights.
